Abstract
Towards the end of the first extended discussion of poetry in theRepublic, Socrates and Adeimantus formulate criteria for the admission of poets into their ideal state. Dramatists are clearly excluded, but the acceptable poet is enigmatically described, according to the usual translation, as ‘the unmixed imitator of the good man’ (, 397d), and as ‘one who will imitate for us the speech of the good man’ (, 398b). ‘Imitation’ has been earlier so defined that it applies to direct impersonation such as is found in drama and the speeches of epic, and accordingly it might seem that, as an imitator, he should be himself a dramatist. This however is ruled out by the run of the argument, which requires us to associate him with a style which contains but little impersonation (396e). On the other hand, if a non-dramatic poet is in view, it seems paradoxical to call him an imitator when imitation has been defined in the way that it has.
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